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November 9, 1883.] THE PHOTOGRAPHIC NEWS. 711 by it if only carefully handled. A very good enlargement, and one that can be very easily disposed of to a customer at a very moderate price, is made by vignetting the picture, as I have just done, with the opal, and then squeezing it down on a clean glass, and afterwards framing it with another glass in front, when it will have the appearance almost equal to an opal. To make sure of the picture adhering to the glass, however, and at the same time to give greater brilliancy, it is better to flow the glass with a 10 or 15-grain solution of clear gelatine before squeezing it down. The one fault or shortcoming of the plain argentic paper is the dullness of the surface when dry, and this certainly makes it unsuitable for small work, such as the rapid production of cartes or proofs from negatives wanted in a hurry ; the tone of an argentic print is also spoken of sometimes as being ob jectionable ; but my impression is, that it is not so much the tone as the want of brilliancy that is the fault here, and if once the public were accustomed to the tones of argentic paper, they might possibly like them quite as well as the purples and browns with which they are familiar, provided they had the depth and gloss of a silver print; and some time ago, acting on a suggestion made by the Editor of the Photographic News, I set about trying to produce this result by enamelling the paper with a barium emul sion previous to coating it with the gelatinous bromide of silver. My experiments were successful, and we now prepare an enamel argentic paper on which the prints stand out with a brilliancy equal to those on albumenized paper. I here show you speci mens of boudoirs and panels—pictures enlarged from C. D. V. —negatives on this enamel argentic. [Mr. Goodall then passed round several enlargements from landscape and portrait negatives, which it would have been difficult to distinguish from prints on double albumenized paper]. X have already spoken of the great ease and facility with which an argentic enlargement may be made as compared with a collo dion transfer, for instance ; but there is another and more impor tant point to be considered between the two, and that is, their durability and permanence. Now with regard to a collodion transfer, unless most particular care be taken in the washing of it (and those who have made them will well know what a deli largements on paper or opal has been before the public for two ‘ or three years now, and cannot be called new ; but still the number of inquiries that we receive every week in our business on argentic paper making and enlarging makes me think that it ' is neither so well known nor understood as such a facile and easy 1 process deserves to be, and I may j nst say here that after a pretty . extensive experience in the working of it, I believe there is no other enlarging process capable of giving better results than can i be got by this process when properly understood and wrought, as the results that can be got by it are certainly equal to those ' obtainable by any other method, while the ease and rapidity with which enlarged pictures can be made by it place it decidedly ahead of any other method. It is now some seven or eight years since I first tried to make gelatino-bromide enlargements ; my first attempt being to coat paper with the pellicle supplied at that time by Mr. Kennett, of London. I did not succeed well, the emulsion not being adapted for the production of positives, and it was not till after many trials that I succeeded in finding out the most suitable kind of emulsion, and the best method of applying it to paper, &c , for the production of positive pictures. I propose first to show you how I make a gelatino-bromide enlargement on opal. A gentleman connected with one of the oldest and most suc cessful photographic businesses in Glasgow gave it as his opinion that this was the picture of the future, and likely to supersede all the collodion transfers and coloured daubs called club pictures, so plentiful of late years, and I think he was right from the standpoint of good taste at least, as with the chaste tone of an engraving they combine the truthfulnesss of a photograph. [Mr. Goodall then proceeded to make an enlargement on a 12 by 10 opal, using a sciopticon burning paraffin ; after an ex posure of two and a-half minutes the developer was applied, and a brilliant opal was the result.] We now come to the paper process, and most effective enlarge ments can be made by it also ; indeed, as a basis for colouring, nothing could well be better. Artists all over the country have told 1116 that after a few trials they prefer it to anything else, while excellent and effective plain enlargements are easily made • Read before the Dundee and East of Scotland Photographic Association. ENLARGING ON ARGENTIC PAPER AND OPALS. BY A. GOODALL.* The process of making gelatino-bromide of silver prints or en- shutter; but, so far as I am aware, Canon Beechy was the first to suggest a plan of a properly regulated shade. His object, however, was not so much to obscure clouds as to cover a bright object like a white cottage at either side or in the middle of the picture. This led to the suggestion of a very elaborate sky shade, by Mr. Baynham Jones. It seemed to be much too elaborate, however, for practical work, and besides, so far as the sky was concerned, it had no ready means of adjustment, and the sockets round the edge, which were intended to hold the shades, prevented the cap of lens being used either at the beginning or end of exposure. Mr. Jones’ contrivance, although useful for shading certain parts of a scene, yet did not serve the purpose which Mr. Parker was aiming at, viz , a development of clouds and land scape in full keeping with each other on the same plate. How ever, Mr. Parker acknowledges that Mr. J ones’ efforts suggested his device, and all that he claims for himself is the invention of the lever arm and pendant, and also the removal of hindrances to the use of the cap of lens in the operation. Mr. Parker has now used his shade more than seven years, and for simplicity and efficiency I do not think it could easily be excelled. I do not feel it necessary to say anything at present as to its working. Mr. Parker has proved its value by many beautiful specimens of cloud and landscape scenery. I strongly recommend its general adoption. In closing, I may be permitted to remind you how necessary it is to observe and study sky effects. No landscape is complete without an appropriate sky. You will fully realize this if you read what Ruskin says in his “ Modern Painters,” when he describes so eloquently, in a section on the characteristics of Nature, the open sky, the aspect of the clouds, the mysteries of the clouds, and the splendours of sunset. cate, not to say difficult job, it is to get them thoroughly freed from the hypo, and at the same time preserve the film intact), there is no permanence in a collodion transfer, and that practi cally in nine cases out of ten they have the elements of decay in them from the first day of their existence. I know, at least in Glasgow, where an enormous business has been done within the last few years by certain firms in the club picture trade (the club picture being a collodion transfer tinted in oil or varnish colours) there are literally thousands of pictures for which thirty shillings or more has been paid, and of which the bare frame is all that re- mains at the present day; the gilt of the frames has vanished, and the picture, in disgust, perhaps, has followed it. In short, I believe a collodion transfer cannot be made even comparatively permanent, unless an amount of care be taken in the making of it which is neither compatible nor consistent with a popular price and extensive output. How now stands the case with an argentic enlargement ? Of course it may be said that there is scarcely time yet to make a fair comparison—that the argentic enlargements are still only on their trial. I will give you my own experience. I mentioned at the outset that seven or eight years ago I had tried Kennet’s pellicle and failed, but got one or two results which I retained as curiosities till only a month or two ago ; but up to that time I cannot say they had faded in the least, and I have here a specimen made three years ago, which I have purposely subjected to very severe treatment. It has been exposed without any protection to the light and damp and all the other noxious influences of a Glasgow atmosphere, and although certainly tarnished, I think you will find that it has not faded; the whites are dirty, but the blacks have lost nothing of their original strength. I here show you the picture referred to, a 12 by 10 enlargement on artist’s canvas, and may here,state, in short, that my whole experience of argentic enlargements leads me to the conclusion that, setting aside every other quality, they are the most permanent pictures that have ever been produced. Chromotypes and other carbon pictures have been called permanent, buttheir permanence depends upon the nature of the pigment employed, and associated with the ' chromated gelatine in which they are produced, most of 1 pigments used, and all of the prettiest ones, being unable to ’ withstand the bleaching action of the light for more than a few 1 weeks. Carbon pictures are therefore only permanent according to the degree in which the colouring matter employed is capable